Tembe Tori, August 2016, number 13 has arrived

August 17, 2016 at 10:34 pm (Interesting reads, What's up?, What's Up Suriname?) (, , , , , , , , )

A new issue of newsletter Tembe Tori is out! Number 13 has an udate about the artists-in-residence in Moengo, and looks at the upcoming Moengo Festival, September 23, 24 & 25, 2016! Download your pdf here: Tembe_Tori, August 2015, number 13.

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What: Moengo Festival 2016 ‘Poku fu kenki II’

When: September 23, 24 & 25, 2016

Where: Moengo, Marowijne, Suriname

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In April 2012 the first edition of Tembe Tori was published. One page, printed with black ink on both sides, with news about former mining town Moengo. During a few months Tembe Tori was distributed regularly in the Moengo community and in Paramaribo. A good way to reach the people in Moengo, a small town in the Marowijne district in Suriname, where artist Marcel Pinas has established the Kibii Foundation, the Tembe Art Studio, the Contemporary Art Museum Moengo and the Marowijne Art Park. Although Tembe Tori served its purpose well, the 9th edition just never came … Until June 2015.

Tembe Tori, number 9 is now a fact. And starting with this edition, the newsletter has four pages and is printed in full color. In addition, Tembe Tori is currently also available digitally so people anywhere in the world can read up on what’s happening in Moengo. Available in Dutch only, Tembe Tori will be published monthly until at least September when the Moengo Festival will be held for the 3d time.

Distribution points:

Tori Oso (Facebook), Frederik Derbystraat 76, Paramaribo // Zus & Zo (Facebook), Grote Combéweg 13a, Paramaribo // Readytex Art Gallery (Facebook), Steenbakkerijstraat 30, Paramaribo // Moengo Festival-kantoor (PAS-gebouw) (Facebook), Verlengde Keizerstraat 92, Paramaribo // Tembe Art Studio, Moengo
Back issues:

Tembe Tori, November 9, 2012, number 6

Tembe Tori, June 2015, number 9

Tembe Tori, July 2015, number 10

Tembe Tori, August 2015, number 11

Tembe_Tori, September 2015, number_12

Tembe_Tori, August 2015, number 13

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Tembe_Tori_13_print 3 - Copy

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‘Manumission and more’: paintings by Ken Doorson

August 14, 2016 at 10:37 am (Coming up, Elsewhere) (, , , )

What:’Manumission and more’: paintings by Ken Doorson (on Facebook)

When: August 25-31, 2016. Opening hours: Tue-Fri 10:00-18.00 uur / zat & zon 11.00 – 18.00 uur

Where: Galerie 23 on Facebook), KNSM-laan 307-309, 1019 LE Amsterdam, the Netherlands, tel. +31 (0)20 620 13 21

 

The paintings by Ken Doorson (Moengo, 1978) are special, particularly because of their historical value. During archival research Doorson stumbled upon manumission letters: the official documents of the release or redemption of slaves. Doorson used these letters by attaching them to a portrait of an imaginary person.

You are welcome to join the flash presentation of the work of Ken Doorson. On Thursday, August 25th at Galerie 23 from 17:30 to 19:30 hrs an informal meeting with the artist takes place.

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Previously on the Sranan Art-blog: Colored emotions, new work by Ken Doorson.

A Dutch article about the exhibition in Afro Magazine, ‘Ken Doorson brengt zijn kleurspektakel naar Amsterdam’ by Marion Poll can be found here.

A YouTube-vdeo about Ken Doorson can be found here.

 

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Thursday-Night-Feature: presentation ‘Rebels in Surinamese Art’

August 2, 2016 at 10:17 pm (Coming up, Meanwhile ..., Thursday Night Feature, What's Up Suriname?) (, , , , , , )

What: Thursday-Night-Feature, presentation by Chandra van Binnendijk & Marieke Visser about ‘Rebels in Surinamese Art’ (Facebook Event)
When: Thursday August 04, 2016, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs)
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname

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Kurt Nahar

At Readytex Art Gallery every start of a new month, means that it is time for yet another Thursday-Night-Feature. So indeed, on Thursday the 4th of August the gallery once again opens her doors between 7:00 and 9:00 pm, for a special presentation about art. In this Thursday-Night-Feature Chandra van Binnendijk and Marieke Visser present the results of their search for rebels in Surinamese art.

The writers argue that Suriname does not have an artistic climate in which stimulating debates take place. Nor is there a lively forum for dynamic views and criticisms. Still the visual arts here are not in the least a lethargic affair. In their presentation Van Binnendijk and Visser illustrate that there is indeed art created that does not easily fit into the standard models for contemporary art. Art made by artists who go against the grain of what the establishment considers acceptable.

This Thursday-Night-Feature will discuss artists who have ventured beyond the ‘the main stream’. On this evening the writers pay tribute to the rebels. Especially for the presentation the first floor of the gallery will display works fitting of the theme, selected by Chandra and Marieke, and the staff of Readytex Art Gallery.

 A richly illustrated article on this subject has been published, in English, on the international art website Africanah.org, Arena for Contemporary African, African-American and Caribbean Art: http://africanah.org/looking-for-rebels-in-surinamese-art/. A Dutch version of the article has appeared in de Ware Tijd, July 30 2016, in the section ‘Mens & Maatschappij’.

Those who wish to hear, see and talk more about this subject are welcome on this Thursday, the 4th of August, at the Thursday-Night-Feature of Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. Doors open at 7:00 pm and the presentation (with slide-show) of Chandra van Binnendijk & Marieke Visser: ‘Looking for rebels in Surinamese art’, starts at 7:30 pm.

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Surinamese artists in ‘ONE BARE FOOT SQUARE’, Amsterdam

July 28, 2016 at 5:59 pm (Coming up, Elsewhere) (, , , , , , , , , , , , , )

The exhibition ONE BARE FOOT SQUARE opening in the Outsider Art Gallery in the Hermitage Amsterdam is the most recent initiative of Chutima ‘Nok’ Kerdpitak (also on Facebook) and her ‘Uncooked Culture’ art platform. This artist and curator was also the initiator of the international travelling exhibition Circus Terminal, which in collaboration with Readytex Art Gallery had its final stop in De Hal in Paramaribo, Suriname in 2014.

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It is incidentally an artist initiative during that exhibition in De Hal that inspired the idea for ONE BARE FOOT SQUARE. On the opening night of Circus Terminal the artists affiliated with Readytex Art Gallery each painted a series of small canvases of 15 x 15 cm, which were pinned on a large panel, together creating the look of a colorful mosaic.

ONE BARE FOOT SQUARE is a collaborative artist-led travelling mosaic canvas. Artists create a One Foot square canvas forming a bigger piece with variable dimensions depending on the exhibition space.

ONE BARE FOOT SQUARE starts in the Netherlands with 73 international artists from 15 different countries. Participating from Suriname, are visual artists Rinaldo Klas, Kit-Ling Tjon Pian Gi, Shaundell Horton and Sancha Sullivan.

Outsiders, Neo-Outsiders & artists from all other Squares, will be contributing their creations as its Uncooked boundary-crossing recipe progresses. The mosaic canvas will project a spectrum, weaving together each individual’s life journey; reflecting on their experience, hopes, thoughts & imagination through their diverse practice, from doodles, painting, stencil to mixed media.

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What: ONE BARE FOOT SQUARE (also on Facebook)

When: Opening: Saturday July 30th from 3:00 pm–5:00 pm. The exhibition is on display until August 13th 2016 and entrance is free

Where: Outsider Art Gallery in the Hermitage Amsterdam (www.amsterdam-outsider-art.nl), Neerlandiaplein 1, 1018 DR Amsterdam, the Netherlands

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Kurt Nahar artist-in-residence in New Orleans

July 7, 2016 at 12:58 pm (Headlines) (, , , , , , , , , )

It is turning out to be quite an interesting year for visual artist Kurt Nahar. On July 9th,, 2016, he leaves for the USA where he will spend three weeks at the Joan Mitchell Center (on Facebook) in New Orleans as an artist-in-residence researching and creating work about a social issue that has, in past and present, held the whole world in its throes. In New Orleans Nahar will direct his energy towards the complex and multifaceted theme of various refugee crises.

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Kurt Nahar / PHOTO Ada Korbee, 2016

The residency at the Joan Mitchell Center (on Facebook) was brought to the attention of Readytex Art Gallery by their good friend and trusted collaborator in the arts, Rosie Gordon-Wallace of DVCAI (Diaspora Vibe Cultural Arts Incubator) (on Facebook) in Miami. In recent years Rosie has travelled to Suriname with a team of US/Caribbean artists twice and she has been a fan and supporter of the work of Kurt Nahar for even longer than that. On her recommendation the team of Readytex Art Gallery set to work with partner artist Kurt Nahar, to submit an application on his behalf for participation in this residency project in New Orleans. In February 2016 we were informed that the selection committee of the Joan Mitchell Center had granted Kurt Nahar a spot in her summer residency program.

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During the opening of ‘Treasure hunt’, an exhibition curated by Bart Krieger, February 4, 2016, Readytex Art Gallery, Paramaribo, Suriname, february 4-13, 2016, an installation about the refugee crisis in Europe, by Kurt Nahar / PHOTO Ada Korbee, 2016

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An installation about the refugee crisis in Europe, by Kurt Nahar / PHOTO Ada Korbee, 2016

The Joan Mitchell Center aims to be a place for creation, innovation and transformation, while supporting values of community, diversity and social equity. It will therefore undoubtedly serve as the perfect backdrop and environment for the work that Kurt plans to create during his residency. In his research Kurt Nahar will explore the various angles of the issue of forced displacement of large groups of people, focusing primarily on the victims of hurricane Katrina in New Orleans, the Maroons who fled their jungle villages after the war in the interior in Suriname in the 80’s, as well as the current refugee crises from the Middle East that affect so many countries around the world. He will focus especially on the aftermath, and the often-tragic consequences for all communities and individuals involved. What exactly his resulting artwork will end up being – although it is almost certain that it will be an installation made from locally found materials -, depends on that which he encounters during his research.

Nahar’s residency at the Joan Mitchell Center in New Orleans runs from July 11th until August 5th, 2016. From there the artist travels to Miami where he will spend several days as a guest of DVCAI (on Facebook) where Rosie Gordon-Wallace has arranged various opportunities for him to present his work in her lively art community there.

 

TEXT Press release Readytex Art Gallery, 2016

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Kurt Nahar / PHOTO Ada Korbee, 2016

 

 

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Thursday-Night-Feature: Kit-Ling Tjon Pian Gi – ‘Caged’

July 7, 2016 at 10:59 am (Coming up, Thursday Night Feature, What's Up Suriname?) (, , , , , )

What: Thursday-Night-Feature, exhibition and presentation by Kit-Ling Tjon Pian Gi (Facebook Event)
When: Thursday July 07, 2016, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs)
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname

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Kit-Ling Tjon Pian Gi, ‘Caged 08’, acrylic on canvas, 80x80cm, 2016, featured image for ‘Caged’ / PHOTO Courtesy Readytex Art Gallery, 2016

Each first Thursday of the month, Readytex Art Gallery opens her doors from 19:00 to 21:00 pm, for a special exhibition or activity, known by now as the Thursday-Night-Feature.

At the upcoming Thursday-Night-Feature on July 7th, Readytex Art Gallery once again features an artist from her own group of partner-artists, Kit-Ling Tjon Pian Gi.

On this night Kit-Ling will use the ground floor of the gallery to present a new series of artworks titled Caged. The artist came up with idea for Caged, based upon the concept that mankind is ‘caged’. ‘Caged’ by political systems, corruption, religion and much more. Inspired by the Surinamese environment, the concept got its own unique form. In addition to her new artworks, Kit-Ling will also delve into Readytex Art Gallery’s storage to select some of her previous works and work from other artists, to add to her exhibition. Aside from being the featured artist, Kit-Ling Tjon Pian Gi also takes on the role of curator for her exhibition Caged.

The Thursday-Night-Feature of Kit-Ling Tjon Pian Gi also includes a presentation. In it the artist will among other things reflect on the fact that she was the first graduate of the first accredited Surinamese study ‘Tekenen (Drawing) MO-A’, 40 years ago, at a time when the AHKCO and the Nola Hatterman Institute did not yet exist.

Artist’s page on the Readytex Art Gallery website: here.

Article in Calabash, a Journal of Caribbean Arts and Letters, Vol. 4 (2006), Nr. 1 (Spring-Summer): Kit-Ling Tjon Pian Gi, ‘Self-portrait of the Artist Speaking in the Third Person’

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Colored emotions, new work by Ken Doorson

July 3, 2016 at 11:11 am (Elsewhere, Exposed, Uncategorized) (, , , , , , , )

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Ken Doorson, ‘Colonial Mugshot’, acrylic on canvas, 150x100cm, 2015 / PHOTO Courtesy SBK Galerie 23

He did extensive research on the subject.

This was allowed to take quite a bit of time. He wanted to know whether he could use kaolin to make sculptures as well; if he could transform the whitish substance into moldable clay. It would then be a natural way for him to incorporate his heritage into his material. Large quantities of kaolin are found underneath the bauxite in his home country Suriname, and a company in his birthplace Moengo markets it in various forms. He could hardly come any closer to his origins.

Ken Doorson is not the only Surinamese artist who wants his heritage to show through in his work. While artists such as Marcel Pinas do this because they are proud of their culture and therefore want that culture to survive, with Ken Doorson it’s a bit more complicated. Fourteen years of his life were spent living abroad, years during which his personality was formed. Upon his return to Suriname he has to once again search for his identity. He feels like a guest in his own country. His work provides him with a viable excuse to start exploring his native culture. In addition to this, he also has an almost innate interest in history and considers it a natural part of his artistry to do extensive research before he transforms his ideas into a work of art.

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Ken Doorson, ‘Manumission 2’, mixed media on canvas, 135x85cm, 2016 / PHOTO Courtesy SBK Galerie 23

Up until now, Doorson’s paintings are life-sized portraits of people who have in one way or another played a role in Surinamese history. Since it is not his aim to make these portraits exact likenesses, it is difficult for the viewer to identify them. However strange that may sound, it is of no consequence to Doorson. To him it is not about glorifying known heroes. Nor does he aim for a courageous portrayal of unsung heroes. To him it is not about the actual people, but about their emotional state at a specific moment in time, a moment that will be of influence to the rest of their lives. That is the emotion that he wants to capture.

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Ken Doorson, ‘Colonial Mugshot’, acrylic on canvas, 150x100cm, 2015 / PHOTO Courtesy SBK Galerie 23

For that he has his own, wayward method: color. Not the facial expression is decisive, but the colors in which the face has been painted. He puts those often contrasting colors next to each other, or he lets them flow into each other or play with each other, in a surprising way. This creates drama. That drama is further enhanced by the ‘sloppy’ way in which he paints the colors. There is movement to the colors. They appear to be alive.

In a number of his new canvases the color still determines the meaning. Especially ‘Ancestral Mugshot’ (2015) – a work that has the potential to become iconic – is a striking example. The emotion – is it rage? – jumps off  of the canvas. The relatively small ‘Male’ (2015) is also exemplary. Still there are a few new paintings – ‘Manumission 1’ (2016) for example – in which he has let go of that principle. On purpose I suspect. While researching the archives related to the history of his home country, he came across the so-called letters of manumission. These are documents that state that a slave has been bought into freedom. He makes photocopies of several and paints the man or the woman named in that document. Since there were no images of these ex-slaves, he paints fictitious figures. The document in question is literally incorporated within the painting: he glues it on and lets it blend into the surrounding paint. Thus he grants the depicted person status. He provides the portrait with a type of red-wax-stamp (this is incidentally how he signs a number of his paintings). Such an official portrayal requires an official style. The formal State-portrait is then a fitting genre. Such a portrait it is not meant to show emotions. This is why these new portraits miss the familiar, expressionistic colorfulness. They are more reserved and closer to the reality than his other portraits. They are smartly dressed, almost too formal.

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Ken Doorson, ‘Manumission 1’, mixed media on canvas, 135x80cm, 2016 / PHOTO Courtesy SBK Galerie 23

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Ken Doorson, ‘Manumission 4’, mixed media on canvas, 140x90cm, 2016 / PHOTO Courtesy SBK Galerie 23

For this exhibition Ken Doorson limits himself to the presentation of paintings. However, he also makes installations. In the future the clay heads, which are still part thereof, will probably have to make way for objects made from kaolin. But whatever medium he chooses, traces of the Surinamese culture will always be found within.

This exhibition of paintings is once again the inspiring evidence thereof.

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Ken Doorson, ‘Manumission 3’, mixed media on canvas, 150x100cm, 2016 / PHOTO Courtesy SBK Galerie 23

NOTE This text was previously published in Dutch on the website of Galerie 23, and was translated and re-blogged with permission.

TEXT Rob PerréeAmsterdam, June 2016

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, and editor in chief of  Africanah.org.

TRANSLATION Cassandra Gummels-Relyveld, 2016

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Invitation

What: Solo-exhibition Ken Doorson (on Facebook): Know To All Men By These Presents
When: Opening June 26, 2016, 16:00 hrs, by Bart Krieger (on Facebook). June 26-July 31, 2016. Opening hours: Tue-Fri 10:00-18.00 uur / zat & zon 11.00 – 18.00 uur
Where: Galerie 23 on Facebook), KNSM-laan 307-309, 1019 LE Amsterdam, the Netherlands, tel. +31 (0)20 620 13 21

A Dutch article about the exhibition in Afro Magazine, ‘Ken Doorson brengt zijn kleurspektakel naar Amsterdam’ by Marion Poll can be found here.

A YouTube-vdeo about Ken Doorson can be found here.

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Dhiradj Ramsamoedj artist-in-residence in France

June 23, 2016 at 8:58 pm (Headlines) (, , , , )

In December 2015 Readytex Art Gallery received good news for one of her partner artists. Visual artist Dhiradj Ramsamoedj was selected for an artist in residence stay at Cité internationale des arts (also on Facebook) in Paris, France, supported by the partners La Direction des Affaires Culturelles de Guyane (DAC de Guyane) (Direction of Cultural Affairs in La Guyane) (also on Facebook) and the French embassy in Suriname (also on Facebook). A project that will eventually will be coordinated by the cultural operator L’Alliance Française de Paramaribo.

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Dhiradj Ramsamoedj, presenting his plans for the artist’s residency / PHOTO Ada Korbee, 2016

The opportunity for several artists to submit applications for this residency in Paris, France, in 2016 was presented to Readytex Art Gallery by the gallery’s art contact in French Guyana, David Redon of DAC de Guyane. The application process was further guided by Laetitia Péant, the cultural attaché of the French embassy in Suriname. For the preparation of the required application documents, including the project proposals, the artists were assisted by the professional team of Readytex Art Gallery. The applications were subsequently submitted to, and reviewed by, the selection committee of ‘L Institut français in France. In December it was announced that Dhiradj Ramsamoedj was the Surinamese artist chosen for the residency in Paris.

Dhiradj Ramsamoedj is a very promising artist who uses his carefully conceived paintings and installations to express his concerns about various questionable social and political issues in modern society. During his residency-project in Paris he will construct an immense Anansi spider from pieces of cloth representative of Surinamese and French cultures. Ramsamoedj intends to present this mythical Anansi figure from Suriname’s and French Guyana’s shared African heritage, as a symbolical ambassador of cultural unity. For the technique Ramsamoedj will take inspiration from his ‘Flexible man’ figures, three-dimensional cloth sculptures, which he first presented in 2010 at the large Paramaribo SPAN exhibition in Paramaribo and which he has since shown in the Netherlands, the USA, Trinidad and Aruba.

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Dhiradj Ramsamoedj, ‘Flexible man’ / PHOTO Roy Tjin, 2010

Identifying and facilitating international opportunities for her partner artists is an important and ongoing part of the Readytex Art Gallery mission. With the help of their gallery support system several artists submit applications to various art institutes and residency programs each year.

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Dhiradj Ramsamoedj / PHOTO Courtesy Readytex Art Gallery

Ramsamoedj’s residency at Cité internationale des arts in Paris runs from July 1st until August 27th 2016. Financial and technical support for the residency is provided mainly by La Direction des Affaires Culturelles de Guyane (DAC de Guyane), the Cité internationale des arts residency, the French embassy in Suriname and L’Alliance Française de Paramaribo. In Suriname the artist receives professional guidance and support from Readytex Art Gallery. On Tuesday June 28th Dhiradj Ramsamoedj will hold a presentation of his Cité Internationale des arts project proposal at the French residency in Suriname.

TEXT Press release Readytex Art Gallery, 2016

A video made by Dhiradj Ramsamoedj in Paris. 

Blog Dhiradj Ramsamoedjhttp://dhiradjramsamoedj.blogspot.com/.

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An article in ‘de Ware Tijd’, June 2016

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Layers in time: the archaeology of a life

June 15, 2016 at 2:08 pm (Elsewhere) (, , , , , , , , , , , , )

Sometimes I look back on my life – one is allowed to do so when one is 50+ – and the thought pops up how a life consists of so many layers. Some very thick layers, other almost non-existent. If I imagine myself ‘hovering’ above my tangible life, all my worldly possessions, I think an archaeologist would have his or her hands full to discover what is beneath the most recent layers.

These layers in time of people’s lives, that was what I was reminded of when I received an invitation from Erik Fliek (photoblog) who participates in an exhibition in Hilversum, the Netherlands. Of course, since the distance between Suriname and the Netherlands is too far, I knew I wouldn’t be going. But because I know Erik from a great art project in Suriname a few years ago (one of the many things the archaelogist who will research my life will find), I read his invitation with close attention. It struck me how Erik has documented what now is left of the layered lives of Claudi and Fritz.

As part of the Art Hilversum 2016 seven artists get the opportunity to show their work at the Museum Hilversum (also on Facebook). The exhibition #mediakunst: NOW II is a group exhibition with Aldith Hunkar, Anne-Mari Ahola, Anna Visser, Bob Brobbel, Eric Blom, Erik Fliek (photoblog) and Vincent van der Geest. For more information about #mediakunst: NOW II please scroll down to the bottom.

In this exhibition Erik Fliek (photoblog) shows a series of photos, ‘House of Claudi’. In Erik Fliek’s own words:

‘House of Claudi’ shows the atmosphere and the layered memories that remain after a long life. Claudi, the aunt of a good friend, and now deceased, married Frits Kögl, a chemist from Munich, Germany, in 1931. In the same year he moves to Utrecht, the Netherlands. As a professor of organic chemistry, he teaches at the University of Utrecht and does research. He is also an amateur painter. After his early demise in 1959 Claudi continues living in the house and apparently prefers to keep the spirit of her deceased husband intact. Everywhere we see his tracks. Chemistry books on the shelf, paintings on the walls, the furniture …

When I make the pictures in 2013 it seems as if almost everything there is just as present as in 1959. Also, Claudi is not far away either. It is as if she has just gone out for a short while, to the bakery. In the end, Claudi’s living area was limited to the couch, the sofa to sleep on, and the table on which, a.o., medicines and a single note with important phone numbers. The garden has no longer been maintained. But with every visible detail the rich history of this family becomes more visible and clear.

I see this house as a concentrate, the reality thickened. With my camera I’m on private property and that feels somewhat uncomfortable, but also exciting. The only thing I can do is focus and put the shutter wide open.

The series has been photographed analog with a Horseman 970 (technical camera from 1968); the slides are in medium format (Fuji Velvia 50 asa, 6x9cm). The slides have been scanned and digitally processed and printed.

 

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A friend of Erik wrote a poem after seeing these photos.

de kamer is intact gebleven

ook al ben ik dood

de commode de japon

weten waar het schaartje ligt

ik kan er zo weer wonen

alles laten als het is

de tijd verstaan door stil te zijn

 

(Niek Satijn)

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the room has remained whole

even if I am dead

the highboy, the gown

knowing where the scissors is

I can live there once again

leaving everything as it is

understanding time by being silent

 

(Niek Satijn, translated by Marieke Visser)

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Erik Fliek visited Suriname and did a project with Remy Jungerman, they set up a graphic workshop for four weeks at the Nola Hatterman Art Academy. This was an exhcange workshop between the Federation of Visual Artists in Suriname (FVAS) and the Amsterdams Graphic Atelier (now known as AGALAB).

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The brochure about the FVAS/AGA project

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13268390_1094569470581625_4066839064720032635_oWhat: #mediakunst: NOW II, a group exhibition with Aldith Hunkar, Anne-Mari Ahola, Anna Visser, Bob Brobbel, Eric Blom, Erik Fliek (photoblog) and Vincent van der Geest.

When: June 11-July 3, 2016. Tuesday-Sunday 11:00-17:00 hrs. Closed on Mondays

Where: Museum Hilversum (also on Facebook), Kerkbrink 6, 1211 BX Hilversum, the Netherlands. Tel. ++31 (0)35 – 5339601. E-mail info@museumhilversum.nl

Within the context of Art Hilversum 2016 seven artists got the opportunity to show their work at the Museum Hilversum. The exhibition #mediakunst: NOW II shows art at the intersection of art, technology and video. The artists’ diverse works and installations reflect on life and the environment.

A clip about the exhibition can be found here.

A flyer/catalog can be found here.

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Interesting Events:

What: Workshop graphic technique

When: June 18, 2016, 10:00 hrs

Where: Grafisch Atelier, Hilversum, the Netherlands

 

What: Dudok Festival

When: June 18, 2016, 19:30 hrs

Where: Hilversum, the Netherlands

 

What: Workshop graphic technique

When: June 22, 2016, 19:30 hrs

Where: Grafisch Atelier, Hilversum, the Netherlands

 

What: Workshop graphic technique

When: June 25, 2016, 10:00 hrs

Where: Grafisch Atelier, Hilversum, the Netherlands

 

What: Workshop Drawing in Open Air

When: June 25, 2016, 13:00 hrs

Where: Museum Hilversum (also on Facebook), Kerkbrink 6, 1211 BX Hilversum, the Netherlands. Tel. ++31 (0)35 – 5339601. E-mail info@museumhilversum.nl

 

What: Guide tour of #mediakunst: NOW II by Diana Kostman, drinks & concert!

When: June 26, 2016, 15:00 hrs

Where: Museum Hilversum (also on Facebook), Kerkbrink 6, 1211 BX Hilversum, the Netherlands. Tel. ++31 (0)35 – 5339601. E-mail info@museumhilversum.nl

 

What: Guided tour of #mediakunst: NOW II by  Stef van Breugel

When: July 3, 2016, 15:00 hrs

Where: Museum Hilversum (also on Facebook), Kerkbrink 6, 1211 BX Hilversum, the Netherlands. Tel. ++31 (0)35 – 5339601. E-mail info@museumhilversum.nl

TEXT Marieke Visser, Boxel, June 15, 2016

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Solo exhibition Isan Corinde – ‘Lolo’

June 3, 2016 at 1:27 pm (Coming up, Exposed, Uncategorized) (, , , )

What: Lolo, the sequel to Oso Tori and Avo Sondi, paintings and objects by Isan Corinde (also on Facebook)
When: Opening June 3, 19:00 hrs with a performance Womi by Tolin Alexander, exhibition: June 3, 4 & 5, 19:00-22:00 hrs
Where: Sukru Oso, Cornelis Jongbawstraat 16a, Paramaribo, Suriname

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In de Ware Tijd an article was published about Isan’s new show.  PHOTOS Stefano Tull

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Isan Corinde in ront of one of the owrks from 'Avo Sondi' / PHOTO Guillaume Pool, 2015

In 2012 Isan graduated from the Nola Hatterman Art Academy. With his own resources he started a project in Brownsweg, Brokopondo, giving art lessons for school children. This project was ‘Isan ku de mii’ [Isan and the children].

In April 2014 he unveiled an installation in Brokopondo which he had made with the school children: ‘Dii fosu posu futu’.

Isan also participated in the group exhibition Art Boost, with Shaundell Horton, Dakaya Lenz and Jeanet Oord, in Grand Riverside Hotel, Paramaribo, Suriname, May 2013.

Website: http://isancorinde.com

On Sranan Art’s Flickr page there’s a photo report with photos by Edwien Bodjie and Ada Korbee about Avo Sondi.

Isan Corinde and Convey (Dervin Sno) started a video project in 2014: ‘PROJECT: ISAN 014’.

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